Rule 7d. _The contours of fully enriched panels should parallel the outlines of the primary mass and repeat its proportions._
This is the richest and most elaborate form of enrichment when carried to its full perfection. It generally takes the form of a panel filled with appropriate design material. This panel may be used to enrich the plain end of a project such as a book stall and thus cover the entire surface, or it may be inserted into a large primary mass and accentuate its center as in a door, in a manner similar to Figure 233. Its use, whatever its position, leads us to the consideration of methods of designing full panels.
[Illustration: SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD
ENCLOSED ENRICHMENT: SQUARE AND RECTANGULAR PANELS--TOOL PROCESSES CARVING, INLAYING
Rule 7e. _The points of concentration for a fully enriched square panel may be in its center or in its outer margin._
In planning designs for full panels, it would be well to consider: first, square panels; second, rectangular panels; third, varied panels. The point of concentration may be kept in the _corners_ of a square panel, as designed in Figure 231, or it may be placed in the _center_, as shown in Figure 232. The effects, when assembled, are indicated in Figure 233.
To secure these effects, a square panel is commonly divided into quarter sections by center lines. The diagonals of each quarter should be drawn before proceeding with the details of the design. These diagonals and center lines are the building lines or leading _axes_ of the pattern. The _leading lines and details_ are then grouped around these center and diagonal axes in a manner quite similar to the method used in Figures 223 and 224. These leading lines are then _clothed with enrichment_ by applying the processes indicated in Chapter IX.
Without going into detail we may say that it is good practice: first, to draw the square panel; second, to draw the center lines and diagonals; third, to locate points of concentration; fourth, to make the leading lines move inwardly to center concentration or outwardly to corner concentration; fifth, to clothe these lines with ornament having strongly dynamic movement corresponding to the leading lines; sixth, to fill in remaining space with ornament, supporting the movement toward points of concentration, even though slight and minor contrasts of direction are added to give variety. When the entire design is completed one should ask the following questions: Does the design have unity? Does it seem too thin and spindling? And most of all, do the points of concentration and shape of the panel fit the structural outlines and proportions? We cannot fit a square peg into a round hole; neither can we fit a square panel into a circular or rectangular mass without considerable change to the panel.